Very rare and original Guglielmo Achille Cavellini multi-media collage. hand-signed and dated in ink. Size approximately 14 x 8 1/2 inches and in good condition. Unframed
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Guglielmo
Achille Cavellini
Guglielmo Achille Cavellini, born in Brescia in 1914 (died 1990),
came into contact with the art world in the Forties when he collected abstract
works. Portrayed by the greatest artists of the age, including Rotella, Warhol
and Ceroli, Cavellini began his multidimensional career as an artist in the
Sixties, by taking everyday objects, and also works of his own or by other
artists, and then transforming or destroying them.
He started creating le Casse, boxes that contain destroyed works in which he
encases fragments of his previous works and also works of artists he esteemed
the most. This is the moment in which for the first time the element of
quotation-appropriation appears. An approach that takes shape more clearly with
works in 1968 made of inlays of painted wood in which he plays with the main
characters and icons of the Art History. In the Carboni (Coals), where he uses
fire to create new purified artworks, he combines more openly the concepts
already presented, going from the painting to the object, from quotation to
appropriation, using works of other famous authors of important historical and
artistic value or the geographical shape of Italy in various deformations and
contexts.
In 1971 Guglielmo Achille Cavellini then begins a new phase by promote himself
and his future artistic career. This is the renowned project
Autostoricizzazione (Self-historification), in which denounces the deformation
of a system permeated by jealousy and impassable closures and which would
finally celebrate his birth centenary in 2014 with major art shows in the most
important museums internationally.
Liberated from all restraints toward self-congratulation, he writes a page of
the Encyclopaedia starting from a simple autobiographical chronicle to result
in a real hyperbole of the cult of personality. His writings thus become a
painting motive used with maniacal insistence on all possible media: columns,
mannequins, clothes and drapes of enormous dimensions.
He was also a promoter of mail art. His mailing-exhibitions were a kind of
benchmark for many young artists with whom he had an intense exchange of mail
art, eventually to create one of the most conspicuous and interesting
archive-museum of these type of work from all over the world. An archive-museum
that he, on several occasions, defined to be “his most important work”.